Psychedelic / Progressive

180-gram LP version. Originally released in 1975. Remastered by Manuel Göttsching. Recorded July-August 1974, Inventions for Electric Guitar is Manuel Göttsching's first solo album. Written and performed entirely by Göttsching on electric guitar, with a four-track TEAC A3340, Revox A77 for echoes, wah-wah pedal, volume pedal, Schaller Rotosound, and Hawaiian steel bar.

In Latin, the word Gemini denotes “two together” or “twins”. In astrological terms, Geminis are noted for, amongst other things, being curious and versatile. For San Diego’s 9-piece (mostly) instrumental combo The Sure Fire Soul Ensemble, Jazz and Funk have always been the two genres that they’ve consistently and effectively melded together, forming the bedrock of their sound. Exercising their stylistic curiosity and versatility, they’ve expanded upon this foundation on their new 11-song long player for Colemine Records.

Recorded between late 2021 and early 2024 at The Kitchen II in their homebase of Lemon Grove, California, SFSE steer their “introspective party music” into fresh sonic realms. While their breakbeat-heavy brand of funk-soul-jazz is still the cornerstone of their sound, as displayed in tunes such as “Makin’ Moves”, “The Grifter” & “Don’t Trip”, they’ve begun to take more and more cues from library music labels such as KPM Music, spiritually-leaning jazz labels such as Tribe & Black Jazz Records and exotica-adjacent jazz artists such as Cal Tjader and Dorothy Ashby. Now leaning more into the “introspective” part of their sound, particularly on “Mother Earth”, “Freddie” and the title track, they evoke the spirits of Freddie Hubbard, Phil Ranelin, Wendell Harrison, Bubbha Thomas, Chester Thompson and even Cannonball Adderley at his headiest & most cosmic (listen to Adderley’s “Soul Zodiac” & “Soul of The Bible” albums for reference). “Corporatocracy” takes it a step further with an extended tabla solo, which floats in and rides the percussive wave before kicking into its funk-driven, modal vibe.

With their current lineup of Tim Felten on keys, Jake Najor on drums, Omar Lopez on bass, Kiko Cornejo Jr on conga/percussion, Aquiles “Lito” Magana on guitar, Wili Fleming on trombone, Sheryll Felten on percussion, and both Jesse Audelo & Travis Klein on saxophone & flute, SFSE maintains their commitment to keeping it funky, but dares to go where they haven’t gone before and, as a result, breaks intriguing new ground in their overall sound. 

In Latin, the word Gemini denotes “two together” or “twins”. In astrological terms, Geminis are noted for, amongst other things, being curious and versatile. For San Diego’s 9-piece (mostly) instrumental combo The Sure Fire Soul Ensemble, Jazz and Funk have always been the two genres that they’ve consistently and effectively melded together, forming the bedrock of their sound. Exercising their stylistic curiosity and versatility, they’ve expanded upon this foundation on their new 11-song long player for Colemine Records.

Recorded between late 2021 and early 2024 at The Kitchen II in their homebase of Lemon Grove, California, SFSE steer their “introspective party music” into fresh sonic realms. While their breakbeat-heavy brand of funk-soul-jazz is still the cornerstone of their sound, as displayed in tunes such as “Makin’ Moves”, “The Grifter” & “Don’t Trip”, they’ve begun to take more and more cues from library music labels such as KPM Music, spiritually-leaning jazz labels such as Tribe & Black Jazz Records and exotica-adjacent jazz artists such as Cal Tjader and Dorothy Ashby. Now leaning more into the “introspective” part of their sound, particularly on “Mother Earth”, “Freddie” and the title track, they evoke the spirits of Freddie Hubbard, Phil Ranelin, Wendell Harrison, Bubbha Thomas, Chester Thompson and even Cannonball Adderley at his headiest & most cosmic (listen to Adderley’s “Soul Zodiac” & “Soul of The Bible” albums for reference). “Corporatocracy” takes it a step further with an extended tabla solo, which floats in and rides the percussive wave before kicking into its funk-driven, modal vibe.

With their current lineup of Tim Felten on keys, Jake Najor on drums, Omar Lopez on bass, Kiko Cornejo Jr on conga/percussion, Aquiles “Lito” Magana on guitar, Wili Fleming on trombone, Sheryll Felten on percussion, and both Jesse Audelo & Travis Klein on saxophone & flute, SFSE maintains their commitment to keeping it funky, but dares to go where they haven’t gone before and, as a result, breaks intriguing new ground in their overall sound. 

Mesh-Key is thrilled to announce a deluxe, expanded reissue of Moon Beams by Tokyo visionaries, Tsuki No Wa. Originally released on CD by Japan's Soundscape label in 2003, Moon Beams is a bonafide opus -- a masterful mix of jazz, latin, folk and electroacoustic, topped with bandleader Fuminosuke's soaring, spectral vocals. Bassist Takuyuki Moriya was also a member of Ghost, and drummer Yuta Suganuma is a long-time member of the Shintaro Sakamoto band. The quartet's third album in as many years, Moon Beams found Tsuki No Wa taking a gigantic leap forward in both compositional sophistication and sonic experimentation. Beautifully recorded in a (since demolished) Meiji-era ballet studio, and featuring guest performances from such underground luminaries as Yoshihide Otomo and Ami Yoshida, this timeless, ambitious work sounds just as spellbinding today as it did a couple decades ago. Our reissue features an updated mix from the band and brand new album art with unseen photos of the group in their heyday. The vinyl (2LP, mastered by Josh Bonati and pressed at RTI) comes in a full-color, double panel gatefold jacket with eye-popping gold foil lettering.

Pink Floyd Live at the Old Refectory 1969 captures the band in a transitional phase, blending their early psychedelic roots with the progressive sounds that defined their future. This rare performance showcases experimental improvisations and tracks that reflect their evolving musical identity.

When electronic pioneers, Coldcut, dropped their groundbreaking Journeys by DJ mixtape in 1995, one of its standout moments came towards the very end of the mix. Amidst the era’s finest beat-makers and electronic visionaries, the DJ duo teased a hypnotic, looping double bass line, followed by haunting sax, thunderous drums, and guitar, before seamlessly blending into the Radiophonic Workshop's Doctor Who Theme. That earworm bass line? It’s the signature sound of Red Snapper’s Hot Flush, forever etched in the listener’s brain.

Fast forward 30 years, and Red Snapper is reissuing their Reeled & Skinned compilation on Warp. The collection includes Hot Flush in both its original form and the remix by Andrew Weatherall’s Sabres of Paradise. It brings together the trio's self-released early EPs from ’94 and ’95, a time when they quickly gained a reputation on the London live scene, captivating jazz, hip-hop, and dance heads alike.

Now, Reeled & Skinned is available on vinyl again for the first time in decades, remastered and featuring an additional track, Area 51, recorded during the same period.
 

An eclectic compilation album celebrating twenty ‘tips of the tongue’ from David Keenan, released to coincide with a book of his collected music writing.

As well as being the title of a book. Volcanic Tongue was a record shop that existed in Glasgow from 2005 to 2015, run by David Keenan and Heather Leigh, it championed contemporary DIY music from around the world, often released in tiny runs on homemade CD-Rs, and also sought to shine a light on forgotten artists from the past, who had often released their music as a ‘private press’ LP. The shop was also known for it’s weekly mailing list, with Keenan enthusiastically rapping about new arrivals, especially the record of the week, given the sobriquet ‘tip of the tongue’. This collection has been put together from releases that were a ‘tip of the tongue’, containing music that runs the gamut from outsider synth to psych-folk to damaged rock’n’roll, with tracks recorded between 1968 and 2013, a celebration of a vibrant and eclectic underground avant-garde.

Printed inner sleeves with original notes on each artist by David Keenan, housed in a sleeve designed by Julian House.

The Smile have today announced two new remixes of tracks from their critically acclaimed third album CUTOUTS, from James Holden and Robert Stillman.

The remixes will also be released as a limited edition AA side 12-inch on 28th March. Stanley Donwood’s sleeve design pays tribute to XL Recordings’ signature housebag series

Second album from the japanese psych-prog band that started out as Far Out in 1973. The record is basically a concept: "The Cave" is arriving onto our planet, and the group is generally celebrating the beauties of nature. Heavily influenced by Floyd (Atom Heart Mother era), the group lays down some very credible ambiances that even Waters & Co. could've pulled off. This album will draw Klaus Schulze's attention and he will collaborate with FEFB on their next one.

For fans of: King Gizzard & The Lizard Wizard, Altin Gün, Derya Yıldırım & Grup Şimşek

Şatellites blast back into orbit on Aylar delivering a bold evolution on the psychedelic folk-meets-groove sound they established on their acclaimed debut album.

Heavily influenced by the wave of psychedelic rock fused with traditional folk music that swept across Turkey in the 60s and 70s, Şatellites’ self-titled debut album received international acclaim. The record earned support from outlets such BBC Radio 6 Music and FIP in France, and were invited to record live sets for both Gilles Peterson’s Worldwide FM, and KEXP in Seattle.

Since their debut, Şatellites have evolved from a studio project into a full-fledged touring band. Over time, the lineup has shifted, enabling the group to recreate their studio sound live. Their expanded lineup now includes Tsuf Mishali on keys and synths, known for his work in proggy psych bands, and the animated Tal Eyal on percussion. Rotem Bahar has also stepped up as the band’s full-time vocalist and frontwoman, adding a fuller, grittier edge to the group’s sound. Behind the drumkit, Lotan Yaish brings dynamic energy to the rhythm section.

After two years of touring, this cohesive and reinvigorated lineup entered the studio with renewed purpose and closer musical bonds. Aylar (Turkish for “moons” or “months”) showcases more ambitious arrangements, extended compositions, intricate harmonies, and unexpected twists, reflecting the band’s commitment to innovation and their passion for the original wave of Turkish psychedelic music.

The album opener, “Tisladi Mehmet Emmi” serves as a gateway to their expanded sound. This reimagining of a traditional Türküler—a Turkish folk song by the prolific saz-playing singer-poet Aşık Ali Doğan—transforms it into a modern psychedelic funk masterpiece. Kluger’s saz and Mishali’s synths intertwine seamlessly, underpinned by Ariel Harrosh’s infectious basslines and Yaish’s dramatic drumming, all culminating in Rotem’s husky, emotive vocals. Lyrically, the track narrates two elderly men lamenting the state of the world—a timeless theme.

One of the album’s standout surprises, “Midnight Sweat” reveals a darker, sultry side of the band. Rotem delivers a steamy late-night lullaby over a slinky disco-rock groove. Developed collaboratively, the track began as a sketch by bassist Ariel Harrosh, before Itamar added a melody and Rotem crafted lyrics in Turkish. The song tells a passionate love story, punctuated with sensual imagery.

“Hot Jazz” ventures into cinematic territory, as the band flexes their jazz and funk chops. The hard-hitting groove is destined to energise breakdancers. The bağlama and flute riffs, steeped in minor scales and modal nuances, infuse the track with a distinctive Middle Eastern character.

Elsewhere, Aylar delivers genre-bending highlights such as “Gizli Ajan”, which opens with a percussive intro reminiscent of the Incredible Bongo Band’s “Bongolia.” This instrumental jam has become a live favorite. “Yok Yok” reinterprets an Erkin Koray classic with a prog-tinged punk-rock flair, transitioning through four distinct sections before concluding with a rousing 9/8 Zeybek rhythm.

The album’s most ambitious cover is their cosmic folk-funk rendition of Hakki Bullut’s ballad “Ikmiz Bir Fideniz” is followed by the original instrumental “Beş Kardeş” (“Five Brothers”), a smoky, 5/4-time piece led by Itamar’s reverb-drenched bağlama.

The album closes with a dynamic duo: “Z​ü​l​ü​f D​ö​k​ü​lm​ü​s Y​ü​ze” a cosmodelic disco-fuzz take on a classic Türküler by Neşet Ertaş, and “Z​ü​l​ü​f B (Reprised)”, which deconstructs and reassembles the groove. Starting with a foreboding proto-metal pace, the track builds to a dramatic, high-tempo finale.

If Şatellites’ self-titled debut laid the blueprint for their sound , Aylar marks their transformation into a fully realised musical force.With this album, Şatellites step confidently out of the shadows of their Anatolian psych heroes to craft a modern yet timeless record, expanding their influences while deepening their connection to their roots. 

Released in 2000 by the UK rock band, Radiohead, Radiohead's 4th album has been described as "the last masterpiece of the 20th century in music history."
A controversial work, an innovative work that shifted to electronica sound rather than approaching Aphex Twin and Autechre. Includes "Everything in its Right Place", "Idiotech" and others.

Tuareg rock from Niger's singer-songwriter Mdou Moctar. Tales of anguished love and broken hearts, plus some well known classics. Famous for his autotuned studio sessions popular on West African cellphones, here Mdou performs live. Recorded on location in Niger, electrifying, distorted and blown out guitar balances with sweet melodies of Saharan folk. 

Spell Blanket comprises songs and sketches drawn from Trish's extensive archive of 4-track tapes and MiniDiscs. The recordings lay the groundwork for what would have been Broadcast’s fifth album, offering a window into Trish and James’ creative process during the post-Tender Buttons period from 2006-2009.

1982, Brussels: The former au pair for Rick Wakeman of Yes and two of her teenage friends are at the doorstep of Les Disques Du Crepuscule, ready to cut an album with Gilles Martin. Living on busking wages and next door to Tuxedomoon, their work results in a contemporary bossanova record that would provide a missing link between Antonio Carlos Jobim and Kraftwerk. Camino Del Sol was issued and promptly forgotten, with Isabelle Antena moving toward jazz in Asia and the others returning to France. Twenty years later, it was findable only as a VG+ LP with a sticker price of $4.99. Intrigued by the striking cover’s sunlit patio furniture emptiness basking in the south of France, we scooped up Camino Del Sol and grouped the extant Antena recordings from that exceptional period by session. Our definitive 2LP reissue of the original five-song mini-LP adds the group’s first 12” (a cover of Jobim’s “Girl From Ipanema,” naturally), the Seaside Weekend 12”, compilation tracks, and two previously unissued cuts, recasting this short-lived combo’s forward-thinking milemarker as a modern-day masterstroke.

Roberto Cacciapaglia is an Italian composer and pianist who started out in the fertile Milan avant-garde scene of the 1970s, which included Franco Battiato, Giusto Pio, Lino Capra Vaccina, Francesco Messina, among others. After studying at the conservatory, he worked at RAI's Studio of Musical Phonology – an electronic music laboratory similar to NDR/WDR in Germany, GRM/IRCAM in France or BBC Radiophonic Workshop.

Sonanze (Sonatas) is Cacciapaglia's debut album, a monumental work that was recorded over a two-year period and released in 1975 via seminal German label Die Kosmischen Kuriere (Ohr). While a "sonata" is traditionally performed by easily distinguishable instrumentalists (often soloist and accompaniment) and with repeated structural themes, Cacciapaglia flips this hierarchical form on its head – blending harpsichord, strings, brass and analog synths to create ambient mini-soundtracks.

As the composer writes in the original sleeve notes, "I am aware, unfortunately, that I am a few millennia late in how I would like music to be understood, which today I find diluted in its primary powers, in an era that is destructive of essential values. Precisely for this reason, I want to search for it in depth and not on the surface, perhaps alternating the knob of a synthesizer with a marranzano (mouth harp)."

Mixed in quadrophonic surround-sound under the auspices of Rolf-Ulrich Kaiser (celebrated producer of Tangerine Dream and Ash Ra Tempel), Sonanze remains on the fringe of Kosmische realms. Each movement explores hypnotic rhythms, intuitive arrangements, musique concrète techniques and a pure psychedelic awakening.

In the swirl of kaleidoscopic recordings that is Spacemen 3's discography, Taking Drugs To Make Music To Take Drugs To occupies a pivotal position – one at the nexus between their garage beginnings and expansionist future. Spacemen 3 capture the inspired spark of mid-'80s psychedelia, offering a distinct variation on high pop through layered feedback, a formidable rhythm section and shining vocals. Taking Drugs features the legendary Northampton demos, which secured the band's first record deal with Glass. While much of this material would be expanded upon on their first two albums, Sound Of Confusion and The Perfect Prescription, many devotees consider these early 1986 demos to be the vital document of Spacemen 3 at this primal stage. With urgent, minimally treated versions of "Sound Of Confusion" (aka "Walkin' With Jesus"), "Losing Touch With My Mind" and "Come Down Easy," this double LP collection serves to exalt the strength of Spacemen 3's songwriting over the deep-dive, sonic ruminations that would permeate their later studio efforts. Includes download card and new insert with liner notes by Byron Coley.

A North American road trip of coming of age garage soul mapped by Ivan Liechti, Ghost Riders is Efficient Space’s latest narrative compilation, hovering in a liminal emotional ravine between moonlight melancholy, teenage heartache and unchecked, unrealised ambition. Across 17 open hearted ballads recorded 1965-1974, the 2LP collects and connects dots between British Invasion fanatics, child prodigies, the loners and the luckless, in a kind of trans-continental survey of those swept up in rock’n’roll mania and buoyed by local newspaper ads promising fame and gold records. From the tangerine dreams of 8th grade all-girl combo The Mod 4 to the tri-state jukebox aspiring echoes of The Tempters, The Yardleys' poetic Farfisa vamp and lilting folk pop, and The Landlords’ weepy break up b-side blues, these are mostly one shots by dreamers whose experience was brief before being checked back to the reality of suburban normality and realistic career options. Hailing from the regional backwaters of Illinois, Arkansas, Nevada, Massachusetts, Ohio, Idaho, Texas and beyond, the licensed artists were scouted by way of local fire departments, spiritualist fellowships and animal welfare centres, often barely a stones throw from where their contributions were originally laid. A barely teenage Dennis Harte's ‘Summer’s Over’ perhaps best taps the collection’s essence. A gut-wrenching lament of the passing of the season as if it was the last on earth. Flanked by players from The Left Banke, Harte, a now-piano tuner to the stars, is from the minor segment that found longevity in showbiz. Likewise with Michigan icon Lyn Nowicki who cast her ghostly voice over Beatles cover song chameleons The Common People and Jerry McGee, The Ventures member and conduit of Dr. John’s ‘Twilight Zone’. Ghost Riders simmers with the scent of youthful summers, the pang of schoolyard romance, and the excitement (and disenchantment) of teenage naïveté, delivered via a deceptively simple and frequently wonky garage band set up. The vision of record collector and graphic designer Ivan Liechti, these eternal psych-folk howlers are further crystallised by Colin Young’s fastidious audio restoration, the original artwork of Elise Gagnebin-de Bons and an aptly penned foreword from Sonic Boom.

Wewantsounds is delighted to announce the release of one of Japan's most coveted albums of the 70s, "Mangekyou" by singer-songwriter Yoshiko Sai. Produced in 1975 by Master musician Yuji Ohno, the album features Yoshiko Sai's superbly crafted songs and crystal clear voice over Ohno's lush, funky sound and breezy arrangements. A strong buzz has been growing around the album over the years and original copies now change hands for large sums of money. This is the first time "Mangekyou" is available outside of Japan, featuring remastered audio, original artwork and a 4 page insert including new liner notes by Paul Bowler.

Megira recorded and released several versions of The End of Teenage, all with his backing duo the Beth She’an Valley Hillbillies. Tracked between 2013-2015, Teenage finds bassist The Dead Girl and percussionist Corso locked into the same wave, with Megira tube riding between them with his sinewy guitar style. The surf eventually crumbles into madness. Teenage ends.

HAPPY's "Ancient Moods Mahollova Mind" is their third full-length album in five years, and most of the songs were recorded in the members' home studio, which was built up during the pandemic disaster. As the album title suggests, the theme of the album is an ancient fascination and an exploration of the mind, and it has a new sound with an exotic atmosphere, as is typical of HAPPY's exploration of music that has never been heard before. In addition to their usual instruments, the members themselves play a variety of instruments such as the Taishogoto, lyre harp, bansuri, conga, and djembe, expanding their range of expression while maintaining the catchy approach of their previous works. Mastering was done by Timothy Stollenwerk, who has worked with Wooden Shjips and Drugdealer, and the depth and dimension of the sound has been increase.

One of truly iconic figures in the Japanese alternative rock scene ever! Originally released in 1973 this was Magical Power Maco’s highly visionary debut album. An eccentric mix of psyche, folk, kraut elements wisely filtered with Oriental sensibility.

Rainy Day was an album released in 1984 on the now-defunct indie label Enigma. It consisted of cover songs performed by various musicians from California's so-called "Paisley Underground" scene. This loose collective was assembled by David Roback, who was then a member of Rain Parade and later of Opal and Mazzy Star. Other participants included Roback's Rain Parade mates (brother Stephen Roback, Matthew Piucci, Will Glenn) and members of the then-little-known Bangles (Susanna Hoffs and Vicki Peterson), the Dream Syndicate (Kendra Smith, Dennis Duck, Karl Precoda), and the Three O'Clock (Michael Quercio).

The songs that were chosen indicated the influences that were generally shared by bands from that scene; not only is a Velvet Underground song covered, but also one by Big Star, and two by the Buffalo Springfield which both happen to be Neil Young compositions. Some other selections are old folk songs which are best remembered as Byrds and Beach Boys recordings. Hendrix and the Who also made the list.

ZZK Records Presents TORNA #1 - ‘Hermetics’

New York. London. Berlin. These places are often regarded as electronic music’s most important hubs, but anyone who’s been paying attention during the past few years knows that the genre’s most interesting contemporary rhythms are coming out of Latin America. Reggaeton, cumbia, guaracha, raptor house… that’s just a partial list, and while these sounds have been popping on Latin dancefloors for decades, they’re no longer a strictly regional concern. Ravers around the world have developed a taste for these mutant (and usually bass-heavy rhythms), and TORNA is here to give them what they crave.

A new offshoot of ZZK—a label which has been pushing the limits of Latin music since 2008—TORNA is a new release series that’s specifically focused on the dancefloor. Its name is inspired by the concept of “La Torna”, an economic institution developed by indigenous Atacama Lickan-Antay, Aymara and Diaguita peoples (in territories now occupied by Argentina, Bolivia and Chile) with the aim of working together for the common good, for the benefit of the whole community.

This new iteration of TORNA takes a similar approach, providing a platform for groundbreaking Latin artists whose view of electronic music looks beyond the usual European and North American canon. First up is Hermetics, a Buenos Aires-based Colombian producer who’s previously appeared on powerhouse labels such as R&S, Optimo Music and Multi Culti, and has also been tapped to remix the likes of Nicola Cruz and Chancha Vía Circuito.

Curated by ZZK co-founder DJ Nim, the two-track TORNA #1 puts Hermetics’ talents front and center, along with his penchant for psychedelic atmospheres and hybridized sounds. “El Cordón Dorado” (“The Golden Cord”) taps into an ancient current of ancestral knowledge, its hypnotic Andean flute and fortified dembow evoking the magic, mysticism and wisdom that’s been passed from one generation to the next over the course of several millennia. “Uruz”—which takes its name from the second rune of the Nordic alphabet—follows a harder, darker and more dramatic path, splicing together slow-motion techno and half-time drum & bass as it evokes the archetypal tale of an untamed warrior being tested by the fires of battle.

TORNA is rooted in Latin America, but it’s aimed at dancefloors around the globe, and this is just the beginning. 

Everything Is Simple arrives four years after its predecessor, Hold You Up, which in turn came five years after Show Us The Fire. Zelienople does not do things in a hurry. Why should it? Operationally and musically, haste has nothing to offer the Chicago-identified trio. They do not rush their time signatures, and they do not rush their albums, because however long it takes is the amount of time necessary. So, what’s necessary? Singer-guitarist Matt Christensen, multi-instrumentalist Brian Harding, and drummer Mike Weis had all been in other bands before they united to become Zelienople in 1998 (the band’s name references a town in Pennsylvania where Harding and Christensen were once stranded while waiting for parts necessary to fix a broken-down car). All of them have all played other music since then. Harding records long-form instrumental music under the guise Ill Professor. Weis has explored ambient sound, studied Korean rhythmic practices, and improvised with Kwaidan and Slow Bell Trio. Christensen is torrentially productive on his own; at the end of April 2024 he had 212 digital releases on Bandcamp, and by the time you read this, there’ll be more. If Christensen is driven by compulsive necessity, Zelienople’s rate of production must be a spoiler, not an enhancer. But the three musicians need each other to make the convergence of ceremonial cadences, echo-laden instrumentation, and mournfully resigned singing that constitutes Zelienople’s music. Still, the making of Everything Is Simple took Zelienople out of its comfort zone. In 2020, Weis left Chicago for Kalamazoo, Michigan, which meant that the band no longer had access to its usual recording refuge in his basement. They turned loss into an opportunity to change their approach. Instead of layering tracks incrementally, they recorded mostly live with two extra musicians, Eric Eleazer (synthesizer, Fender Rhodes piano) and PM Tummala (synthesizer, Fender Rhodes piano, vibraphones). Keyboards and metallophones broaden the sound field around Weis’ patiently perambulating percussion. And instead of clinging, Harding’s basses and clarinets swirl and wreath around Christensen’s apprehensive articulations of the experience of being a quiet person in a menacingly loud cultural moment. Tummala also contributed his engineering skills, which enabled Christensen to step back from recording duties to concentrate on singing and playing, and his studio, which is much more spacious than Weis’ old basement. While the basic tracks went down quickly, a lengthy period of mixing and fixing ensued, followed by the spatially conscious mastering of Slowdive’s Simon Scott, all of which further magnified the effect of being a bigger band in a bigger space. Still, Zelienople wears its expansiveness lightly; Everything Is Simple may loom sonically, but it doesn’t overwhelm the listener so much as give them the space to inhabit a singular realm.